It is the time of year when London once again thrums to the pulsating beat of global cinema, and the 69th edition of the BFI London Film Festival is in full swing. Over the next few weeks, you can expect some expansive interviews from us as Associate Editor Sarah Smith immerses herself in the breathtaking diversity and talent on display across the festival’s various film strands. From the bold visions of first-time filmmakers to the refined craft of established artists, keep an eye out for our festival highlights. For the time being, as part of our ever-expanding Best of Fest coverage and even longer-standing coverage of LFF, we dug into the impressive 90 short films screening over 12 programmes to bring you a Directors Notes curated selection of the most striking shorts. As always, we have been profoundly impressed by the bold, innovative storytelling on display but want to pay heed to the strong display of experiential filmmaking talent, which is unmistakable this year. Moving beyond conventional narratives into realms of deeply subjective, sensory-driven cinema, the following filmmakers masterfully use texture, sound, and visceral imagery not merely to tell a story, but to replicate a feeling, a memory, or a state of mind. This emphasis on crafting an experience over simply relaying plot marked the most exciting and cohesive trend, showcasing a fearless generation of artists redefining the power of the short form. We continue to be proud of films already featured on DN from LFF’s selections, with full interviews for MAGID / ZAFAR and Party Animal available to read right now, alongside numerous filmmakers previously highlighted on our pages. Make sure to add the following selections to your LFF viewing and try and catch us between screenings to discuss them in person.
Nostalgie – Kathryn Ferguson
I managed to catch Kathryn Ferguson at Aesthetica Film Festival last year discussing her incredibly powerful Sinéad O’Connor documentary, Nothing Compares. No stranger to DN for her documentary work, I was delighted to see her narrative short Nostalgie in the line-up. A washed-up 1980s popstar tragically finds himself to be the revered musician behind a rallying cry to brutality among a Belfast military battalion. This narrative on a malingering disconnect between North of Ireland and England is piercingly unique and a masterful viewpoint.
Flock – Mac Nixon
I was instantly brought back to Grímur Hákonarson’s 2015 fraternal feud feature Rams, but Mac Nixon very much drew me into his own unique and frankly stunning realm with the LFF world premiering Flock. The internal conflicts and laws of a tight-knit farming community come to a head with murderous consequences. The cinematography and characters in a world few are truly a part of felt profoundly textured and epically real.
The Conjured Ones (Los Conjurados) – Humberto González Bustillo
Not only did I learn a new word, but Humberto González Bustillo’s vivid experimental The Conjured Ones had me transfixed on a brand new terrifying reality. A cyberflâneur—look it up—stumbles upon a darker side of Google Maps. Bustillo’s short brings morphous, flickering shadows of people to life in a bizarre and brilliantly original visualisation of the endless migratory disasters persisting every day.
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Sweet Talkin’ Guy – Spencer Wardwell & Miss Dylan
Masterful editing, viscerally accurate writing and all-too-real characters bring this oh-so-painfully accurate portrayal of modern dating to life. Spencer Wardwell and actor Miss Dylan demonstrate how the trans experience should be on screen, and Sweet Talkin’ Guy stood out to me immediately.
I Saw the Face of God in the Jet Wash – Mark Jenkin
Take a tour through cinema, history and my favoruite places on on earth, the sea, with acclaimed filmmaker Mark Jenkin in his aesthetically gorgeous and reflective short I Saw the Face of God in the Jet Wash. Jenkin graced the pages of DN many times long before his ‘debut feature’ Bait, and it is always a joy to see a celebrated feature filmmaker return to the shorts realm and play with form and narrative in their own particular way.
Coyotes – Said Zagha
I have lost count of the time I have screamed “do not get in the car” at the TV as I witness someone—more often than not a woman—getting into a situation they fucking well shouldn’t be. In his competition short Coyotes, Palestinian British filmmaker Said Zagha gives us a glimpse into another cruel and unforgiving part of the current conflict in the West Bank with an surprising turn you don’t expect.
God is Shy (Dieu est timide) – Jocelyn Charles
The only animation to truly grab me in this year’s lineup is a directorial debut from Jocelyn Charles. God is Shy takes you down an existential rabbit hole as three passengers on a train dive into the very meaning of life. Clearly influenced by Japanese-style animation, Charles vividly expresses the horror of deepest fears in lush, colourful detail.
The Early Sun, Red as a Hunter’s Moon – Adam Piron
With a large swath of the shorts programming dedicated to experimental films, I was spoilt for choice. Still, I found myself immediately mesmerised by Adam Piron’s The Early Sun, Red as a Hunter’s Moon. Shot on expired 8mm film when travelling in Portugal with a friend, Piron has created his version of a travelogue whilst also attempting to decipher an ancient script. It is totally mystifying in exactly the right way.
Original Sin – Amrou Al-Kadhi
A filmmaker who first came to our attention when we announced the BIFA Debut Director longlist last year, Amrou Al-Kadhi’s bold and resplendent short Original Sin, commissioned by WeTransfer, is loud, brash and exactly what a film examining trauma should be. A Muslim woman and her drag queen son fight over who owns the spotlight and who suffered more. Things come to a head as a Greek-tragedy-esque, all-consuming fight erupts backstage to see who will rise.
The Wasp (or The Sheer Beauty of Accepting Yourself) – Cass Virdee
I found the comedies to be few and far between, and whilst this definitely errs towards the side of a dark comedy, Cass Virdee’s absurd short The Wasp (or The Sheer Beauty of Accepting Yourself) is a piece of genius. An unwitting young guy leaves the doctor’s office having been told he’s 62% wasp, and understandably, his entire sense of self starts to dissolve as he is forced to try and accept this new identity. Virdee fully leans into the insanity of it all, and you have no choice but to follow.
You can find more unmissable DN film festival favourites in our Best of Fest collections.
